A certain woman believes that a worrying pattern exists within the American media landscape, which appears to be conditioning women, particularly through Hollywood films, to favor the disadvantaged or less fortunate male characters. A number of films depict a narrative in which a young, uncertain female protagonist is faced with the dilemma of choosing between a well-off gentleman and a man of humble means. Strikingly, the story often concludes with the latter man being chosen as the object of the woman’s love. A few examples illustrating this recurring theme are illustrious movies like ‘Titanic’, ‘Sleepless in Seattle’, ‘Sweet Home Alabama’, and ‘The Notebook’.
One might ponder, from where does this fixation originate within the Hollywood film industry? Could there be any underlying intention influencing producers to propagate this narrative among the female audience? One woman argues that the entertainment industry seems excessively keen on shaping narratives where women are encouraged to opt for the underdog in the romance equation.
A woman elaborated on this sentiment, questioning the rationale of discarding a suitor solely because he is wealthy, even when he possesses desirable qualities, stating, ‘why wouldn’t she choose this rich, pleasant man?’. Contrarily, another woman said she would’ve chosen Noah – the character portrayed by Ryan Gosling in ‘The Notebook’.
She was countered by another woman, who disagreed, justifying that she would not have chosen him because he lacked ambition. In the absence of his drive to grow and enhance their shared lifestyle, she found him to be an unsuitable life partner. This evoked responses from a man who queried, ‘What were the tangibles that the wealthier partner was offering?’
The same woman responded that the financial stability would have allowed for a more comfortable, healthier lifestyle, with increased access to quality food and superior healthcare facilities. With a touch of humor, the man questioned, ‘Would money prevent dementia?’, highlighting the uncertainty and unpredictable challenges life presents, regardless of financial status.
In the realm of film literature, narratives of ‘star-crossed lovers’ are riveted within the modern romantic genre. The concept is characterized by passionate lovers destined to fail because of factors outside their control. This trope, borrowed from Shakespeare’s tragedy, ‘Romeo and Juliet’, often involves prohibitive external factors interfering with romantic love, such as parents, economic circumstances, race, or professional commitments.
The notion of star-crossed lovers is romanticized as it fosters a belief that love triumphs over all other factors. It conveys the message that love is worth fighting for rather than being effortlessly bestowed upon one. Hence, many films depict female characters embracing relationships that are tumultuous, as opposed to ones that are stable emotionally and financially.
The triumph of the underdog in these love stories is more about hope than anything else. Research supports that witnessing an underdog story inspires hope in audiences, an emotion that lingers well after the tale concludes. There is irresistible charm and excitement in observing a love story unfold – the emotional whirlwinds, dramatic ups and downs, trailed by a grand gesture that ties everything together just in time, make for a classic Hollywood narrative.
But do these fictional romances contribute negatively to women’s real-life expectations and experiences? It’s hard to ignore the narrative that women’s happiness hinges on finding and being loved by a man. If female protagonists don’t pardon the male leads for their missteps justified by their ‘work in progress’ status or unresolved past, they’re typecast as the antagonist.
From this perspective, these stories indeed do a disservice to women. Especially when one remembers that they are portraying relationships in films which are meant to be fiction, not documentaries. Greater diversification is required in the romance genre, with different character representations and varied personality prototypes.
Looking at films by Hallmark, one can see that audiences appreciate the structure of encountering one another, falling in love, experiencing trepidations, and finding resolutions. So much so, that the repetitive plots don’t impede the viewers’ fascination with these movies. Hollywood can certainly take note from this and strive to develop more varied characters and narratives while retaining the beloved formula.
Consequently, a reassessment of the underdog narrative may be due. While these plots may provide entertaining drama and emotionally charged conclusions, they inadvertently craft a skewed perception of romantic relationships that could influence women’s real-life decisions.
Overall, the need for evolving the romantic genre is evident, with a shift away from traditional story arcs towards unexpected plots, diversified characters, and balanced, realistic expectations. This can ensure that fiction remains fiction, without unduly impacting the audience’s perception of reality.
Ultimately, Hollywood possesses a powerful storytelling platform and bears responsibility in how it portrays love and relationships. By consciously straying from the underdog narrative trope and creating narratives that reflect diverse experiences, the industry could foster healthier perceptions of love and relationships. Thus, it’s essential that Hollywood explores the spectrum of human experiences and emotions, accurately capturing the nuances and complexities of real-life romantic engagements.